BAND BAAJA BAARAAT blew the trumpet of success for marriage season and now it's TANU WEDS MANU to make it happen with all its pomp and show. Low profile, average face value, new musical prodigies but much-accepted genre of "romantic comedy (rom-com)" to entertain, TANU WEDS MANU sounds like an interesting fare to happen. It pitches budding composer Krsna to be the leading musical man with writing potentials of new lyricist Rajshekhar to deliver the needful. Can Krsna and Rajshekhar be the "chosen-ones" in cadre of this year's happening talents? Does this rom-com have potential verve to entice young listeners? Expectations may not be humongous but feel is immensely positive, as we charter into the musical terrains of this fun-filled rom-com with fingers crossed...

When it comes to quintessentially Punjabi folk-singing, names like Sukhshinder Shinda, Mehsopuria, Jazzy B, RDB and Lehember Hussainpuri have made their strong vociferous dominance with their thick-toned baritones, exuding out a vibrant folksy celebratory feel. The overtly hyped "Sadi Galli" belongs to this genre with streaming voice of Lehember Hussainpuri, gesturing all out glitzy happening of marriage celebrations. Few years back, RDB rocked the charts with this number with almost similar sounding arrangements and now it gets packed well into this rom-com entertainer. For all contemporary "bhangra" lovers, it's already a big rage and should be a very "scintillating" factor in pumping up the "glam-quotient" of the flick. "Sadi Galli", a frivolously cracker of dancing cum feasting entertainment, is presumed to be next big commodity for DJ's tables and is likely to be hot sizzler for festive occasions, especially in North India (preferably in Punjabi speaking regions). Go for it!!!

Romance is the flavor of this season and duet is the most anticipated melodic verve to arrive in Mohit Chauhan's sonorously oozed vocals in "Yun Hi". Newbie Krsna makes his first original dent in this tender-paced number that is modestly arranged with varied instrumental flows. Conceptualized to be dreamy duet track, it has primarily Mohit's subtle singing at fore with synchronized classical Indian textured instrumentals, mellowing amiably in modestly penned wordings. Ujjaini's sublime back-up voice is soothing and comes intermittently to add feminine touches in this simplistically designed love track. Overall, it's a decent sounding song that plots out the graph of love-chemistry and its relative happening in its four minute plus display. Sufism has defined divinity in multifarious ways; its endeavors are fast emerging voluble in Hindi filmdom and the next promising enterprise to arrive is "Rangrez". After hearing to earthen feel of "Des Mera Rangrezi" (PEEPLI LIVE), the word "Rangrez" lingers in senses and this eloquently beautifying number has shades of "Sahib Mera Rangrez" (Saint Kabir's poem) with brilliance of expressive voice and literate poetic wordings. Krsna gleams out as potential vocalist this time as he modulates as well as varies his tones, matching well to the desired needs of a perfect Sufi "qawalli". Upcoming Rajshekhar's poetic finesse is equally admirable as lyrics unravel from the mystifying feel of coloring ("Rang rang de rang de chunari pe rang, Kar muhe kapaas pe rang naa rukey, Rang itna gehra tera ki jaan-o-jagar tak ko bhi rang de, Jigar rang de...) to refined Urdu verbatim ("Meri raah bhi tu, Mera rahbar tu, Mera sarwar tu, Mera akbar tu, Mera mashriq tu, Mera maghrib tu, Zaahid bhi mera, Murshid bhi tu...), exulting out myriad shades of spirituality in remarkable Sufism tonality. Krsna's command over breath-control and classical "alaap" rendition in the latter stages, adds to this graceful composure of this remarkably delivered soundtrack. "Rangrez" spells pure magic for classy listeners and all credits to the combined melodic brilliance that makes it happen for quality-music hearing ears.

The magic moves on to the second version by Wadali Brothers (Puranchand Wadali and Pyare Lal Wadali), a quintessentially classical offerings that should do grace for live-concerts. For all Sufi music lovers and classical music literates, "Rangrez" is immensely likable listening treat that should open vistas for more classy works in Bollywood music. Rhythm-divine!!!

In an era where "Munnis" and "Sheilas" raunchiness has rocked the charts, it becomes impossible to expect the sublimity of decent feminine emotions interwoven in Indian classical musical attire making its impeccable impact. After delivering out an outstanding "Rangrez", Krsna's composing prowess regales again and delivers a gem of performance from purist Roop Kumar Rathod in "Piya". In terms of expressive tonality, supple arrangements and appealing situational feel, this classically refined song brings memories of melancholic sounding "Aaoge Jab Tum" (JAB WE MET -2007) and impresses to the core. Rajshekhar's literary strength in interweaving sentimental shades in refined wordings makes remarkable presentation in lines like ("Megh nahin bijuri bann barse, Mohe ek chama naahin arj ae, Baathal sang kar ke jiya ra, Bole jaa mann basiya...) to the beloved pathos ("Aswan sang mora beh gaya kajra, Utri mehndi, Sookha gajra, Mann basant ko patt jhadh kar woh, Le gayo, Le gayo, Le gayo, Le gayo rang, Rang rasiya...), exemplifying the gist of pure love-relationship. Roop Kumar's pristine voice is extremely penetrative and so does the beautiful concoction of "sarangi", flute, tabla and harmonium displays, making this one of the finest in its genre. Krsna's adroitness in foraying into classical works excels and gives sufficient reasons of lauding up this remarkable track that has quality workmanship as its trump-card. Noteworthy!!!

Chirpy, vivaciously familial and quirky in nature, the fun-filled "Mannu Bhaiya" comes moreover like a cheerful "teasing-pleasing" endeavor that shows the high spirits of bridegroom's dear-ones. Sunidhi Chauhan's booming vocals leads the show with frivolous earthen voices of Ujjaini Mukherjee and Niladri Debnath, giving out a typical "Delhi-wala" folklore feel, similar to "Sasural Genda Phool" (DELHI-6). The added back-up vocals of Manjeera, Rakhi Chand and Vivek Naik adds colors to the show. In terms of composition and arrangements, this playful amusing number reminds of ethnic feel of "Kangna Re" (PAHELI -2005) and jester out loads of cheery musical happenings for silver screen. Amusing!!!

In listing of Punjabi folklore singing, "Jugni" has always been most prolific musical-piece that has caught every "bhangra-beat" lover's attention. It is graced up this time with Mika Singh's nasal twang with cherubically bubbly wordings ("Jugni kardi western dance, Gentleman de naal romance, Munde labh de phirde chance, Oye phir mere ae ve jugni...), serenading out playful characteristics of lead female protagonist. Like "Sadi Galli", its striking features are strong electronically punched fillers that are mixed well with traditional Punjabi instrumentals, exuding out a frolicsome signature tune for the track. For all its peppiness and "masti", do play it loud and enjoy this lively track that should give optimum reasons to shake booty on floors. Enjoyable!!!

To sum up, TANU WEDS MANU is an entertaining musical "wedding card" that enthralls, excites and finally impresses with its melodic gestures. Krsna succeeds potentially in churning out a successful musical feast that has pleasing "bhangra-beat" grooves in "Sadi Galli" and "Jugni" but the noteworthy aspects are impressive Sufism and classical musical feel in songs like "Rangrez" and "Piya". Rajshekhar's lyrical attributes also deserve special mention that gel appreciably with quality singing. This rom-com is expected to be getting boost from its musical offerings and it will be interesting to view all these numbers on big-screen. Hoping for this hot "n" happening marriage to prosper on big screen...till then Happy Listening!!!